Itżs a fascinating collection, with some striking unearthings such as "Dove mai trovar quel ciglio?" . . . in which Villazón adopts a wheedling, furtive manner for asides commenting sardonically on a bride and groom, whilst ostensibly praising them . . . the range of Villazón's technique is demonstrated by his rapid-fire syllable-shower of "Clarice cara mia sposa" .

Record Review /
Andy Gill,
Independent (London) / 18. January 2014

. . . the Mexican tenor is temperamentally incapable of being bland or emotionally disengaged . . . he rises to the challenge of the impassioned "Misero! Aura che intorno spiri", surely the finest of Mozart's tenor concert arias. He sensitively softens his tone in the aria's plaintive opening and hurls himself with a desperate, abandoned intensity into the Allegro . . . Villazón musters a fine heroic ardour for the prepubescent composer's Metastasio setting "Va', dal furor" [and "Or che il dover"] . . . the tenor's ardour and dramatic energy ensure that enjoyment usually outweighs frustration, not least in the comic patter song "Clarice cara mia sposa", zestfully done, complete with deadpan interjections from Antonio Pappano's light baritone. Back in the day job, Pappano gets vital, elegant playing from the LSO, who fully match Villazón's fire in the faster numbers . . .

. . . an outstanding substitute solo in a Hasse opera . . . Villazon is at his best in the comic numbers.

Record Review /
Hugh Canning,
The Sunday Times (London) / 02. February 2014

. . . this is a collection of real Mozart obscurities. And . . . Villazón brings them to life. He has performed these works frequently in recital, and it shows: throughout, he has a relaxed way of getting into character. Sample "Con ossequio, con rispetto", from Piccinni's "L'astratto, ovvero il giocator fortunato", for an example of suppressed sarcasm that most singers would just leave alone. Deutsche Grammophon contributes clear sound from none other than Abbey Road studios, and the result is an album that should find a place in large Mozart collections and those of Villazón fans as well.

. . . [all arias] are entertaining, punched out with passion and personality by a singer clearly enjoying himself and flying free. Antonio Pappano is also grinning as he conducts the London Symphony Orchestra, hurtling along in music intoxicated with its own invention. I wore my own grin right from the opening track, "Si mostra la sorte", launched by the orchestra's lithe footsteps, garnished with delightful flutes, then topped off with Villazon's relaxed gait.

Record Review /
Geoff Brown,
The Times (London) / 07. March 2014

. . . Rolando Villazón brings ten Mozart arias to vibrant life . . . a stunning recital . . . [Villazón] shows a passion and affinity for the style that are genuinely convincing . . . it's precisely the recitatives and the endless word repetitions that fire his imagination, with every phrase supple and responsive, thoughtfully motivated with variety and charm . . . the musicality and resourcefulness of this man are extraordinary! . . . Villazón stylishly dispatches two formal, pompous pieces from the pen of the nine-year-old Mozart and brings consistently heroic vocalism to one German work, but the grand scenas in Mozart's mature style are especially well-rendered. "Per pietŕ, non ricercate" highlights Villazón's clean line, warm and engaged phrasing, and attention to dynamics, especially in the grand nobility of the opening Andante, while Pappano underlines the sensuality of Mozart's scoring and its similarity to much of "Cosi Fan Tutte". "Misero! O sogno" opens with a harmonically rich recitative and woodwind scales creating a creepy atmosphere; Villazón's detailed handling of the text is both expressive and natural. Asking "E dovrň qui morir?" (Must I die here?) , he's not just mouthing standard opera seria words but expressing real desperation, and Pappano characterizes the orchestral utterances tenderly and responsively. The comic pieces are especially delicious. "Dove mai trovar quel ciglio?" is a perfect outlet for Villazón's high energy, but there's also an endearing sweetness to the sound, complemented by Pappano's light touch. "Con ossequio" finds Villazón paying compliments dutifully while spitting and hissing asides, then ending in mad laughter, while the patter aria "Clarice cara" takes him galloping through a ridiculous assortment of academic, mathematic, musical and nautical terms, with Pappano offering wry comments in a respectable light bass.

Record Review /
George Hall,
BBC Music Magazine (London) / 01. April 2014

This impressively packaged pair of CDs allows Rolando Villazón's bravura approach full rein . . . [the arias] demonstrate Villazón's dramatic ability alongside his vocal fluidity; these are not just stock renditions, even though the works . . . are hardly well known. The operatic extracts, sung with a variety of strong partners, are full of vigour and action.

Record Review /
Alexander Bryce,
Scotsman / 27. April 2014

. . . one can only admire Villazon's art: his scrupulous attention to text and dynamics, his fluency in coloratura, his innate musical phrasing, his almost-trill, and, as before, the sheer animation and enthusiasm that he brings to music that most able (and fine) tenors normally are pleased to just "sing". He begins the first aria, "Si mostra la sorte", using a remarkably conversational tone singing about Fate favoring constant lovers; but in the allegro, in which Fate is also seen as hostile, he strengthens his delivery. These types of interpretive subtleties are par for the course and a sheer delight. The second aria, from the unfinished "Lo sposo deluso", exhibits fine ability with "little notes" and a change in delivery for each of the three verses delivered to three different people -- and a personal note, in an aside, for the last . . . ["Va, del furor portata"] has some wicked coloratura that Villazon dispatches impeccably, in full voice, and without any aspirates . . . ["Se al labbro mio non credi"]: Villazon colors his tone to superb effect. Itżs just beautiful performing . . . ["Müsst' ich auch durch tausend Drachen"]: it's sung heroically, in glorious, big sound, with trumpets and drums blazing . . . ["Con ossequio, con rispetto"]: great patter singing from Villazon and the Sprechstimme-like bass voice of -- conductor Antonio Pappano! The latter, by the way, with the LSO, supports and interprets gloriously throughout . . . Villazon's musicality, sincerity, and intelligence [are very appealing] . . . ["Misero! O sogno" & "Aura che intorno spiri"]: simply gorgeous -- and gorgeously performed . . .

Record Review /
Robert Levine,
ClassicsToday.com / 14. June 2014

Much of this music was written to showcase a particular singer's skills, and Villazón rises to every showy challenge set by the adolescent composer . . . His approach works very well for the longer arias, with their formal changes of mood and color. "Misero! O sogno o son desio" is especially successful, with Villazón relaxing into the exquisite wind writing in this mournful plea for the breeze to contact his lover. With "Con ossequio, con rispetto" written for a comic opera by Niccolň Piccinni, Villazón shows a neat comic side, not afraid to sound neurotic and bitter as the scheming Captain Faccenda . . . this dry run proves he can be funny and wheedling . . . The singing throughout the album is unrelentingly thrilling and urgent, with every fiber of Villazón's being latched on to Mozart's every word . . . [Pappano] paces each item extremely well, with the LSO playing with real grace and drive. DG's sound is rich and full . . . For a fan disc, it is a welcome departure from the usual Italian hits; for the discerning Mozartian, it is a shot of adrenalin.

. . . [an] amazing disc . . . the interpretations are as fully engaged as ever and the technique imposing. That this singer of such winning personality and dramatic gifts is back, and exploring new and unusual repertoire, is the perfect reason to rejoice.

For his new solo album, Rolando brings his lustrous Latin timbre to the concert arias of Mozart. Rolando has performed Mozart arias with the Wiener Philharmoniker at the Salzburg Mozart Week 2010, been celebrated in Lucio Silla at this year's Salzburg Summer Festival as well as in a wonderful production of Il re pastore in Zurich and Salzburg.

“It’s fantastic to compare the very young Mozart with the mature Mozart and track his development,” says Rolando Villazón. You can now explore the variety in Mozart’s music on Rolando’s new album.